"E=MC2." Hmm. "E(ntell)" = your average "emcee," squared. Okay, okay,
not bad. With as little fanfare as a guy like Entell receives, something
clever like that might sneak up on you. It's merely an album title, but it
generally sums up how Entell works; beyond expectations. The cover of the LP
shows him adorned in thugged out camouflage, a hood concealing all but a
slightly gnarled upper lip. "Here we go..." might be as much as I uttered.
The second I heard his voice, I strapped myself in for some thuggish ruggish
bologna, and immediately began contemplating how many 4's and 5's one can
deal out in a year's time.

It's evident that I've all-too comfortably adjusted to a low standard in
underground hip-hop, but I can thank an artist like Entell for helping me
realize it. Simply put, he has major label talent. His voice is reminiscent
of Obie Trice, but he flows better (ain't that a bitch?). Charisma is rarely
a problem for him, and the overused and underappreciated use of the punch
line is actually done some justice. Entell possesses the rare ability to go
hard without losing any lyrical cred, a feat in which even the wiliest of
veterans struggle.

But in between telling "wack rappers to tuck the mic between their legs"
and being "so hot your girl gotta blow me," Entell is plagued by the two
most feared album assassins in all of hip-hop: inferior guests, and even
worse, inferior production. With the guest spots, it is what it is; nearly
all chorus crooners, they hardly compliment Entell's rhymes, and some
(Paulette on "I Luv Hip Hop") work to ruin the whole song. And while some of
the beats are nice (much of the sampling is certainly above average), it
becomes increasingly apparent that Entell has been hooked up by the wrong
demographic. "Looking At Me" is on some westside bounce, but Entell clearly
belongs on a hard-hitting New Yorker. It's little surprise, then, that he
sounds much better (and more comfortable) over the live *rock* version of
"Standin' Ovation:" "whatever he say? Fuck it - I shoot the 45 through your
whole line like T.J. Duckett."

This is easily the biggest problem with "E=MC2." Not only does the emcee
outshine his production, but even when the beats are decent, they hardly
match his style. "I'm Only Human" might have been a top 40 rap hit with Bow
Wow, but Entell only does what he can to mesh. On the opening "Overthrow,"
Entell bounces off the wall with energy, even acknowledging his southern
influences (he's from North Carolina), but the beat sounds like a throwaway
from "Release Therapy." "Feelin' You" is ALMOST too smooth to hate,
unfortunately the beat finally outshines Entell's mushy rhymes.

"Da Letter E" works hard to impress, emphasizing on the alliteration of
the said character, but one can only do so much: "'cause niggas get eager
and either talk or grab the eagle and hurt more than your ego/I eclipse the
game, equip the thang, erase your name, and to them do the same." It
certainly could have been a lot worse, but the same could be said about the
war on terror. Entell and his crew of flunkies floss when there's no room on
"Whatever You Want," featuring a chorus that's just as good as prying at the
BET office doors: "show your grill, get money, do your thang, show your
chain." Yeah, whatever.

To his credit, "E=MC2's" shortcomings have little to do with Entell the
emcee. "I came back, did music, didn't listen/I'm sorry dad, I know you
don't agree with my decisions." It's this kind of determination that's only
necessary for Entell to succeed, not only with his album but surely in a
career in rap. His beats might not be ideal, but it's all gravy, baby;
"E=MC2" is easier to appreciate than it is to enjoy.